That opening hit puts the whole track on its feet right away: drums, guitar, piano, bass, and that bright Hammond organ all moving in the same plain shove.

Dylan comes in like he’s starting a fable, but the voice is already sharp around the edges.

The band doesn’t pause for the fall in status; “Now you don't talk so loud” lands over the same steady roll.

The chorus opens out on the question, and the organ answers with a lift that keeps the taunt bright instead of heavy.

The second verse just steps back into the same groove; “Miss Lonely” gets named without any special pause around her.

Now the refrain is familiar, but it hasn’t softened. The drums and bass keep the body moving while the question keeps leaning forward.

This verse crowds the scene with performers and tricks, while the piano, organ, and guitar keep flickering around Dylan’s line.

The images get stranger here—the chrome horse, the diplomat—but the rhythm section stays almost matter-of-fact underneath them.

By this return, “How does it feel” sounds less like a new question than a place the song keeps circling back to.

The last verse raises the scenery again—princess, steeple, pretty people—while the band keeps the same forward pace under it.

“Nothing to lose” arrives without a big musical underline; that steady motion is what makes the line feel so exposed.

One more chorus, and the singing still leans into it. The organ keeps brightening the refrain beside him.

Near the end, the long push finally starts to loosen; the band falls away in pieces rather than making a grand finish.